My practice has developed over the years to establish deeply personal ways of making marks on canvas. The aim is to create proto-narratives, each open to their own interpretation, but all informed by a theme or set of boundaries, escape, adventure, environment, solitude and human legacy.
The common technical thread is a multi-stage process of experiment and refinement, application and removal that build back, middle and foreground.
This is achieved through the chemistry of high-pressure ink washes, polyurethane varnishes injected with gloss and spray paint, screen-printing, collage, stencils and more.
In order to add depth of texture and meaning, masked areas are treated separately, enabling the integration of natural, mechanical and architectural features, through processes of re-sanding, washes of acrylic paint (sometimes heat-treated), inks, charcoal, chalk, pencil and on occasion copper oxide pigment effected with urine.
But these engaged daydreams conceal rather than flaunt the complexity of their making.
This is evident in ‘Relics in Winter’ (2014) in which, fence posts that no longer serve any practical purpose, too insignificant to remove, become nothing more than a forgotten memory, that linger as aesthetic punctuation; or the tower blocks in ‘Midnight in a Perfect World’ redundant, dated and outmoded.
To date the work draws influence from a vast array of sources. This ranges from the aesthetics of 80s and 90s animation, skateboard posters and graphics and the mass produced (printing) industries, the socioeconomics of London (where I grew up) to the wider world at large, and architectural /technological advances, to name but a few.